y, such indications are of
two general types dealing respectively with increasing and decreasing
speed, and we shall accordingly give the definitions in two classes:

TERMS INDICATING A MORE RAPID TEMPO

1. A gradual acceleration
_accelerando_
_affrettando_
_stringendo_
_poco a poco animato_

2. A definitely faster tempo at once
_piu allegro_
_piu presto_
_piu animato_
_piu mosso_
_piu tosto_
_piu stretto_
_un poco animato_

TERMS INDICATING A SLOWER TEMPO

1. A gradual retard
_ritardando_
_rallentando_
_slentando_

2. A definitely slower tempo at once
_piu lento_
_meno mosso_
_ritenuto_

3. A slower tempo combined with an increase in power
_largando_ }
_allargando_ } (literally, "becoming broad")

4. A slower tempo combined with a decrease in power
_morendo_ }
_perdendo_ }
_perdendosi_ } (Usually translated, "gradually dying away")
_calando_ }
_smorzando_ }

(After any of the terms in the above list, a return to the
normal tempo is indicated by such expressions as _a tempo_,
_tempo primo_, _et cetera_.)

[Sidenote: TEMPO _NUANCES_]

But in addition to the variations in tempo more or less definitely
indicated by the composer there are (particularly in modern music)
innumerable tempo fluctuations of a much subtler nature; and since
these are now recognized as a part of really artistic choral and
orchestral interpretation, (as they have long formed an indispensable
element in expressive piano performance) a brief discussion of their
nature will be included before closing this chapter.

In some cases a variable tempo is asked for by the composer by means
of one of the following expressions:

_tempo rubato_ (literally, "robbed time")
_ad libitum_ (at pleasure)
_a piacere_ (at pleasure)
_a capriccio_ (at the caprice)
_agitato_ (agitated)

(The term _tempo giusto_--in exact tempo--is the opposite of
the above expressions, and is used to indicate that the
music is to be performed in steady tempo.)

In the majority of cases, however, the composer gives no indication
whatsoever, and the whole responsibility therefore rests upon the
performer or conductor. It is because of this latter fact that the
am